Image of a totem pole in Alert Bay, BC, at the grave of the Kwakiutl Chief Mungo Martin. The pole was carved to honor the Chief. This image shows the pole right after it has been raised, with the ropes used to raise it still attached. Additional information and images of this pole are featured on pages 28-33 of Carter's book "From History's Locker."
File consists of handwritten notes, photocopies, and photographic prints provided by other institutions of various items that may be currently or previously located in MOA's Great Hall. Many of the prints are annotated with handwritten, stamped, or typed information about the contents of the images or their original repositories. The contents of this file were used to create object labels for MOA's Great Hall.
Mountain scene, with snow/glacier covered mountains in the background, with a lake in front of them. Possibly Garibaldi Lake and Mount Garibaldi in southern British Columbia.
Item is an image of a coastal village, taken from the sea. According to annotations, photograph is of G?aw (also known as Old Massett) in the Haida Gwaii archipielago taken from the Ship Islander.
Item is an image of several buildings and totem posts. According to annotations, photograph was taken in G?aw (also known as Old Massett) in the Haida Gwaii archipielago.
This file contains images of Coast Salish and Kwakwaka'wakw artifacts. Many of the photos are official photographs taken by various museums in Canada and the United States, but others are historical photos. These artifacts include masks, rattles, carvings, fishing equipment and fish processing, canoes, and North Coast architecture, such as long houses and house posts.
The fonds consists of records relating to Hennessy’s 2003 MA thesis titled The Spirit of Collaboration: Exploring Critical Pedagogical Principles in Transforming the Museum Through Space and Time. Hennessy was interested in the relationships that developed between community members and museum staff during the process of putting together the Museum of Anthropology’s exhibit The Spirit of Islam, which ran from October 2001 to May 2002. Her purpose was to document the kinds of collaborative processes that occurred as the exhibit planning progressed in order to identify a model from which other museums working with communities might benefit.
